1 The science of 'Walking with Dinosaurs' MICHAEL J. BENTON Department of Earth Sciences, University of Bristol, Bristol, BS8 1RJ, U.K. [Cite as: Benton, M. J. 2001. The science of 'Walking with Dinosaurs'. Teaching Earth Sciences, 24, 371-400.] The biggest science documentary series ever, ‘Walking with Dinosaurs’ (WWD) was first shown in Britain in October, 1999, in the United States in April, 2000, and in most other countries around the world during that interval. By late 2000, some 200 million people had seen the series (25 million in Britain, of whom 19 million watched it the first time round). The spin-off programme, ‘The Ballad of Big Al’ attracted similar attention when it was aired at Christmas, 2000. These viewing figures are what is expected for a cup final football match, a royal wedding, or an especially hyped episode of a soap opera, but not for a documentary about palaeontology. But was WWD a scientific documentary, as I suggest, or was it a media stunt, as a (small) group of critics claimed at the time? I’d like to explore this idea, and relate it to the wider question of how palaeontologists operate, and indeed what science is all about. The gestation and making of WWD I was involved in the series from its early days, as palaeontological consultant for the first programme. Several of my colleagues from Bristol were also involved: David Unwin (now in Berlin) was main consultant on pterosaurs (the leathery flying ones), Donald Henderson (now in Baltimore) offered expert advice on the biomechanics of dinosaurian locomotion, and Jo Wright (now in Denver) was employed by the BBC full-time for a year as their in-house palaeontological consultant. Tim Haines, the producer of WWD, conceived the idea of a fully animated wildlife series about dinosaurs in 1997. He knew that the technology for this kind of animation existed. After all, Steven Spielberg had used it to spectacular effect in ‘Jurassic Park’ in 1993. (Equally, Haines knew that Spielberg had spent untold millions of dollars on what was then extremely novel and difficult computing to achieve only 11 minutes or so of true computer animation. The rest was animatronics — models — and chaps in rubber suits.) But, by 1997, the costs had come down. It was possible at last to do this work on a desktop PC, using software packages that were available commercially. The animation technology had become reasonably commonplace in advertising. But, for a wildlife documentary, Haines needed 25 minutes of animation for every half-hour programme. No room for rubber suits, although animatronic models were used for close-up shots in WWD. But the BBC had to be assured that the effects would be acceptable scientifically. So Haines toured various universities in Britain and the United States, seeking opinions of a short trial film he had had made by the animation firm Framestore in London. I remember watching that first trial film, five minutes of the pliosaur Liopleurodon swimming around, and other 2 underwater shots. It was breathtaking, and it had cost a minute fraction of what Spielberg had paid five years earlier. In the end, Haines raised his budget of £6 million from US, German, Japanese, and British sources, and they set to work. It took 18 months to make the programmes. The storyboards were precise, and film crews set off round the world to film the backgrounds. Special effects had to be incorporated into these background films. Meanwhile, a team of animators at Framestore was engaged, each developing a particular animal. The consultant palaeontologists were brought in early to check and approve the clay sculptures on which each animation was based, and to look at the initial wireframe and simplified moving images. We were asked to specify how the limbs moved, how the animals ate, and any other behaviours we know they could do, based on evidence from the fossils. The to-and-fro of consultation and development went on throughout the production period. In the end, over 100 palaeontologists and geologists were consulted. Questions were specific: not merely ‘were there scorpions around in the Triassic?’, but ‘was this family of scorpions around in the Late Carnian of Arizona?’ Jo Wright, the in-house BBC palaeontologist, of course was able to deal with innumerable daily questions, and she went out for specific advice constantly. Cheapening science? Did we sell our souls? Yes, according to some (well, one). We were accused by a fellow palaeontologist of having been seduced by the bright lights, of selling our expertise cheaply, of doing anything for money. He publicly called us prostitutes in an e-mail discussion list. His message reached thousands of professional palaeontologists around the world. In an interview with Science, he claimed that he was ashamed of the profession of palaeontology after seeing the series. Strong (perhaps rather mad) words! Other critics were less harsh, and the criticism became more muted as the programmes rolled out. A few critics adopted the pose of the cynic. They claimed that WWD was all a bit of fun, but it really needed a serious hand at the tiller to lend it some true authority. Or perhaps it should never have been attempted. Or who knows? The cynic is not obliged to be specific, merely to smile indulgently at the caperings of his fellow human beings, while muttering, ‘Tut, tut.’ Maybe this stance was largely sour grapes: ‘why wasn’t I consulted?’ Another category of WWD-haters, the fact checkers, began compiling lists of errors in the first week. These were gleefully circulated on the e-mail lists. For example, in the first programme, Postosuchus urinates copiously. There is no doubt that it does so in the programme, and this was a moment that my children relished. However, of course, birds and crocodiles, the closest living relatives of the dinosaurs, do not urinate; they shed their waste chemicals as more solid uric acid. Equally, though, we can’t prove that Postosuchus did not urinate like this: copious urination is the primitive state for tetrapods (seen in fishes, amphibians, turtles, and mammals), and it might have been retained by some basal archosaurs. The other claims of ‘errors’ that were identified in the first weeks fizzled out pretty quickly. The critics had found points about which they disagreed, but they could not prove that their view was correct. In matters of opinion (e.g. colours, sounds, mating behaviours), where there is limited evidence, many different views are expressed. But in making a film (or a 3 painting) a hard choice has to be made. The nit-pickers mostly realised this and desisted: had their advice been sought, they would have suggested perhaps that Tyrannosaurus rex was green, not brown, and someone else would have complained. EXcess cynicism? I have been interested to observe, as I talk about the science behind WWD to different audiences around the country, that there has been an abiding impression of dissatisfaction about the accuracy of WWD. One or two vocal critics were reported in the press (and the press has to focus on dissension and dispute), and this has left a lingering bad taste, almost exclusively among adults, that what they were watching was technically superb, but scientifically flawed. Sadly, the healthy cynicism that most adults have for all politicians and for all the media has led many people, I think, to underestimate what they were watching. And I think Tim Haines and the BBC underestimated this wall of cynicism that would face them. They assumed that people would appreciate that immense care that had gone into checking every detail of the animation. They assumed that the imprimatur of the BBC was enough to say, ‘this has been carefully done, and with full consultation with experts.’ So, any thinking person realises that colours and sounds of dinosaurs have to be imagined, but many viewers assumed also that the nests, eggs, running, walking, feeding, and other behaviours were also imagined. This lack of appreciation of the current of cynicism was reflected in the fact that the scripts and narration by Kenneth Branagh expressed no questions or doubts. Had the narration drawn attention to the specific imaginary scenes and reconstructions, then, by implication, the viewers would have appreciated perhaps that the rest was based on sound evidence. The ‘Making of WWD’ programme didn’t go far enough to explain the science behind the programmes: there was a certain amount of palaeobiology, but also a great deal about the technology of the animation and the film making. I think that the narration was more carefully considered for ‘The Ballad of Big Al’. And the accompanying programme, of equivalent length, went into exquisite detail on every aspect of the fossil and geological evidence that had been used in making the film. At least, after viewing both programmes, even inexpert viewers should have realised that virtually everything shown in the ‘Ballad’ was based on evidence (except skin colour and vocalization of course). The current of cynicism has been positive, and it has opened up a great opportunity for educators, whether in schools, in museums or at universities. The cynicism, linked to amazement at the visual impact of the programmes, readily turns into questions: how do you know that? Tim Haines’ book of WWD, and subsequent books by myself, and by David Martill and Darren Naish from the University of Portsmouth, have addressed this point head- on. The impact of the programmes has interested a huge new group of people in geology and palaeontology. At one talk I gave in Aberdeen, 400 people turned up to hear about ‘the science behind WWD’.